Redemption of history with violence

Garry 2022-04-19 09:01:33

The rhythm of the whole film is unhurried but closely intertwined, the plot twists and turns are all reasonable, the violent scenes in the three scenes are concise and full of tension, and the bloody scenes are straightforward but not excessive. In an hour and a half, the conflicting identities of the protagonist's past and present are deeply depicted. The historical problems caused by violence can only be redeemed by violence again under extreme oppression.

The thinking brought about by violence is revealed everywhere in the film, and everyone is inadvertently related to violence in some way. How should we deal with it? TOM's extreme approach seems to have no choice but is it worth understanding? It is actually the right way to leave this question to the reader at the end of the film. It represents people at different stages who make different choices. The wife who can best represent the reader's position is caught in contradiction and hesitation. But there are too many movies that end like this, and it feels a little lacking in novelty.

There is not much time for violent scenes in the film, but it can play the role of finishing touch, showing the theme and thinking brought by violence very well, which is natural and reasonable. When I think of the domestic blockbuster Huang Feihong I watched this year, I also want to express a simple theme: the spirit of martial arts, but the whole film is to pile up and show off the martial arts scene skills of Jet Li and Yuan Heping, plus some imposed slogans and preaching dialogues, this expression method It's really poor and crude by comparison.

Only a rigorous and real script can impress the audience. The characters in the history of violence are well portrayed. In addition, the details echo everywhere, with a little black humor. The combination of sensory stimulation and rational thinking is indeed a rare masterpiece.

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Extended Reading

A History of Violence quotes

  • [Richie talks to Joey about the business]

    Richie Cusack: What am I gonna do? You bust up a made man's place. You killed some of his guys. You take his eye. Jesus, Joey... you nearly took out his left eye. Barbed wire, wasn't it? That's disgusting. You always were the crazy one.

    Tom Stall: Not anymore.

    Richie Cusack: Yeah, I heard. You're living the American Dream. You really bought into it, didn't you? You've been this other guy, almost as long as you've been yourself. Hey, when you dream, are you still Joey?

    Tom Stall: Joey's been dead a long time.

    Richie Cusack: And yet here you sit... big as life. You know you cost me a lot of time and money. Before you pulled that shit with Fogarty, I was a shoe-in to take over when the boss croaked. A shoe-in. It was made very clear to me, Joey. I had to clean up your mess, or nothing was ever gonna happen for me! You got no idea how much shit I had to pull to get back in with those guys. You cost me! A hell of a lot, Joey. A hell of a lot!

    Tom Stall: Looks like you're doing all right over here.

    Richie Cusack: Yeah, I am, I am. I'm still behind the eight-ball... because of you. There's a certain lack of respect, a certain lack of trust. The boys in Boston are just waitin' for me to go down.

  • [Tom gets a phone call in the middle of the night]

    Tom Stall: Hello?

    Richie Cusack: [voice] Hey, Bro-heem. You're still pretty good with the killing. That's exciting.

    Tom Stall: Richie?

    Richie Cusack: [chuckles; voice] Yeah, it's Richie. What do you say, Joey? Are you going to come see me? Or do I have to come see you?